Annotation:Straight Jig

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X:1 T:Straight Jig [1] M:C| L:1/8 B:Elias Howe – Musician’s Omnibus Nos. 6 & 7 (Boston, 1880-1882, p. 636) B: Z:AK/Fiddler’s Companion K:F d>e|f>ed>f eAzA|B>AG>F (3EFG F2|D3E F>EF>G|Adz^c d2 d>e| f>ed>f eAzA|B>AG>F (3EFG F2|D3E F>EF>G|1 AA,z^G, A,2:|2 AA,z^G, A,2z!fermata!|| |:F3A cAcf|zdBf cA F2|F3A cAcf|zfag f2 fg| agfa gecf|zdBf cA F2|CFzF AFAc|1 zdBG F2z:|2 zcBG F2!D.C.!||

STRAIGHT JIG. American, "Straight Jig" (cut time). F Major. Standard tuning (fiddle). AA'BB'. A 'straight jig', also called a 'sand jig', was a duple-time, syncopated melody akin to a schottische or hornpipe, often played on the banjo as an accompaniment to a solo dance similar to a soft-shoe, buck dance or buck-and-wing. It was popular during the Reconstruction period in America, and was derived from minstrel dancing (both White and Black), and was a precursor to tap dancing of the 20th century. Performers were valued for their precision, lightness and speed—as they were in older forms of solo step and jig dancing—and gave rise to challenge dances. The New York Clipper''ofApril 11, 1868) recorded one such contest:

Charles M. Clarke, a professional jig dancer . . . had a contest on the evening of the 3rd in Metropolitan Hall . . . for a silver cup valued as $12. Clarke did a straight jig with eighty-two steps and won the cup. Edwards broke down after doing sixty-five steps.


Additional notes

Printed sources : - Elias Howe (Musician’s Omnibus Nos. 6 & 7), Boston, 1880-1882; p. 636.

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